My Show

Well, here we are. Harvey, Mary Chase's surprisingly sophisticated comedy, opens tomorrow night (as I write this), in Concord. I must say that the experience has been wonderful. Concord Community Players is a class act. They are extremely well organized, and have given me considerable latitude to realize my vision.

Along the way, I have had my usual second thoughts and self doubts, but they have receded easily enough. I questioned my decision to take a three act play and turn it into a two act. I worried about the set not fulfilling my expectations, I had reservations about playing down the special effects to focus on the humanity of the story. There was an actor who had to leave the show quite suddenly, and another who had trouble getting to rehearsals. All of these problems eventually resolved themselves, and I stuck to my guns. I also reminded myself that theater is the most collaborative of all the art forms, and one must trust the team. Always trust the team!

Still, as has also been reiterated throughout the creative process, someone has to be responsible for the final result. I have always maintained that the only person who has to be made to be happy throughout the production is the director. Because, ultimately, it falls to the director to make the audience happy.

I was given the job as a result of my presentation to the board which hired me. I told them what I was going to do, and what I expected to see when all was done. They liked my ideas enough to hand me the responsibility to entertain their audiences. If people don't laugh, if something seems false and forced, there is nothing for it but to point the finger at me and say, "Blame him."

This, to a certain extent, actually happened to me one time. I directed a production of Neil Simon's Rumors, and a group of conservative Christians complained to board members following a performance about the language in the show. I literally watched the board members point fingers at me, and sent the complainers in my direction. That memory remains one of the highlights of my stage career. Incidentally, two of the actors from that show will be on the Audi stage this weekend.

Fact is, I love this particular show. The cast, especially Chris Demers as Elwood, is great. The look is exactly what I want. I gave the script uncommonly high respect. I genuinely believe that Mary Chase would be pleased. But, if I'm wrong, and the audience reacts with a cold scorn; or if the members of Concord Community Players believe that the whole thing was a fiasco - so be it. The Director is very, very happy.

The Rabbit Lives

So, Harvey has begun. I have producers, a set builder, a set designer, a stage manager and an ASM. I even have dates for my auditions (Feb. 15 and 16, in Concord, NH). Anytime I begin to work with a new organization, I always get extra excited, because I have no clear expectations. I love that, because every show is an adventure, anyway! The newness of everything adds several new levels to the challenge. After all these years of working in theater, I need challenges.

Why Harvey? Let's start with the organization of the Community Players of Concord. This is their show. They selected it, then put out a call asking for Directors to apply for the job. I am coming into this as a Director for hire, but also to establish my bonafides with them for future consideration, as well. I always endeavor to give my very best; but making a good impression on people whom one respects, but doesn't know is very important to me. They, after all, are paying me to deliver a good show. And, goodness knows, they have a wonderful reputation. I have to live up to that.

My background, in all fairness, is as a film guy. before my love affair with the stage ever began, I was hooked on the cinema. Celluloid dreams led me to an appreciation for all performing arts. In my years as a student of movies, i got hooked on screwball comedies of the 30s and 40s: His Girl Friday, The Twentieth Century, Bringing Up Baby and, yes, Harvey. Scintillating banter between characters who somehow find themselves in the most improbable of situations is an absolute joy to behold.

I am equally interested in placing the comedy within the context of the times in which these stories take place. What, I wonder, is it about the post-depression that made these comedies so singularly precious? How is it that they have never been equaled for their quality in the years following their heyday? I plan to explore that in the coming months.

This, then, will be an exploration into the creative process of more than just one play's production. I will delve into the nature of comedy; discuss film and stagecraft (and, probably, video as well), and plan to reflect on the challenges of all of this.

Join me, please.